舊社會，新文本：臘必虛喜劇在現代中國的翻譯與傳播

The Translation and Transmission of Eugene Labiche’s Comedies on the Modern Chinese Stage

二十世紀中國戲劇探索新的文本，通過系統引介的理念，從西方戲劇及其翻譯過程中汲取養分。本論文分析法國劇作家臘必虛（Eugène Labiche）的喜劇在現代中國的翻譯與傳播，特別是《迷眼的沙子》、《貝先生的旅行》兩劇。臘氏乃法國民眾最受歡迎的劇作家之一，在一般文學史或戲劇史上常被視為通俗之作。宋春舫大力鼓吹其優點，以期修正當時中國戲劇的主旋律，並希望藉此以現代戲劇重獲新生／聲。其友人趙少侯率先譯出《迷眼的沙子》一劇，諷刺城市新興中產階級的虛浮矯飾。其後重譯、改譯版本眾多，包括曹禺的《鍍金》。同樣，《貝先生的旅行》在現代戲劇史上亦有多次翻譯與重譯記錄，其中包括石華父以京劇標題改譯的《孔雀屏》。臘必虛的喜劇既獲學界文人背書，又有影劇從業人員具體實踐，使其在民國時期舞臺上廣為人知：趙少侯的翻譯直接呈現其當代西方戲劇面貌，宋春舫的學術引介試圖為中國戲劇另闢蹊徑，而各個改編版本則讓臘氏喜劇在話劇舞臺上演繹複調。宋春舫等人對臘必虛的引介與推崇，是否可供吾人進一步理解當時中國戲劇與社會的需要與追求？這些追求目標僅是當下所需，抑或具有戲劇藝術的恆久性？回顧並檢視臘必虛喜劇在中國戲劇史上的接受與傳譯過程，將有助於釐清上述問題。

The modern Chinese theater attempted to nourish itself by systematically translating western plays. This article analyzes the translation and transmission of the comedies of the French playwright Eugene Labiche, especially his La Poudre aux yeux 迷眼的沙子 and Le Voyage de monsieur Perrichon 貝先生的旅行. During the first half of the twentieth century, Song Chunfang 宋春舫 promoted with enthusiasm Labiche’s works because they introduced to Chinese theater an alternative that differed from the “mainstream” Ibsen plays worshiped by his contemporaries. Song Chunfang appreciated the elements of popular theater observed in Labiche’s works, taking them as models for the modern Chinese theater. La Poudre aux yeux, a parody of the hypocrisy of the urban middle class, was translated for the first time by Zhao Shaohou 趙少侯 . Later, his successful translation inspired several retranslations, adaptations and rewritings, including Cao Yu’s 曹禺 The Gilt 鍍金. Similarly, Le Voyage de monsieur Perrichon was (re)translated several times and it contributed to the adaptation of Shi Huafu 石華父, whose choice of title, The Peacock Screen 孔雀屏, was inspired from Peking Opera. Although the fame of Labiche is often forgotten nowadays by researchers in the Chinese-speaking world, he was indeed one of the most popular and well-known French playwrights in modern China. For professional training in universities as well as for commercial productions on stage, Labiche’s comedies should not be neglected in studies of the history of Chinese theater. By reviewing and analyzing the translations, adaptations and rewritings of Labiche’s plays that date from the first half of the twentieth century, researchers can retrace in more detail the development of modern Chinese theater and its quest for modernity.